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Wednesday, March 31, 2010

got slammed with a FAST cold that has slowed me down over the past couple of days, but I can't let March 31 slip by without noting that it's the final day of my selections for Everyday Genius, and I chose to end the month with Steve Himmer's novel excerpt for what I think are obvious reasons. For a couple of hours there this morning, the post was up as being from Steve Zimmer, which may have been Adam's subconscious desire to solicit a sub from either Carl Zimmer or Steve Zahn.

I was going to do a March parade of all the work we featured, but Adam beat me to it. NICE.

In other news, I have a piece called "Seckle" in the latest issue of Double Shiny, alongside work by Kyle Hemmings, Jac Jemc (kept dreaming that name in my Nyquil visions), Neila Mezynski, Brian Oliu, Matthew Savoca, and Chris Taylor.

Monday, March 22, 2010

is the name of my story in the stunning debut issue of Corium Magazine. This is one of the stories from my gothic leaning collection, Curio, so to all you moneybags publishers out there--I got more like that.

Greg Gerke and Lauren Becker really worked with me on this one, but they did take away my exclamation point. I'm almost over that, especially seeing who I'm in there with--cripes!:

I have no idea if it went well, but we filled up the time and made people write. There were about a dozen participants, most of whom could have run the workshop themselves--I was especially pleased to meet Rae Bryant of Moon Milk Review, and poet Kate Wyer, whose living book project And, Afterward is really fascinating.

It was a gorgeous day, so of course we convened in the windowless upstairs of the Wonderland Ballroom bar. The Barrelhouse lads like bar food and bar drink, but I did not see anyone taking up the waitress on her offer of free waffles. Apparently they used to have bacon days.

Mike Ingram started things off with a discussion of point of view, I did my flash thing, and Reb wrapped up with a guided tour through "Moves through Contemporary Poetry," an essay by Elisa Gabbert & Mike Young that appeared on HTMLGIANT.

For my segment I tried to talk about how tension occurs in vsf, and I shared Katrina Denza's "Soap," Scott Garson's "Captions," Joseph Young's "10 Point" & "Lethe," and Matt Bell's "How To Watch Paint Dry." After a quick browse of the readings I had the attendees write in response to one of the following exercises, all of which I adapted from Behn & Twichell's Practice of Poetry--my rationale being that the compositional mood for writing very short fiction is more akin to that of writing poetry than it is to writing conventional fiction:

AWrite one or two complete sentences in response to each of these steps. The “You” in these prompts is the narrator, who is part of the scene.

1. Think of a person you know, or invent a person. Describe the person’s hands.2. Describe something he or she is doing with the hands.3. Use a metaphor to describe an exotic place.4. Mention what you would want to ask this person in context of numbers 2 and 3.5. The person notices you and gives a response that indicates a misunderstanding of your question.

BBuild or dismantle, piece by piece, an object, being, or phenomena that we don’t naturally think of as being constructed.

C1. Write a paragraph to describe an intriguing event or object—avoid using comparisons, stick with the image.2. Do the same to describe a powerful character.3. Combine the paragraphs into one, alternating between the object and the person. Use transitional language to make the paragraph sound right, even if it doesn’t seem to make sense. Make the flow take priority over reason. (new reason will create itself)

Saturday, March 13, 2010

That's what it looks like. For several months now I've been worrying a dark theme to death in the very short form, and what with breakthroughs achieved in the past week, I think I've written all I care to on the subjects of death, eternity, or the lack thereof--for the time being. So what do I have?

A folder called "Curio" containing 26 short stories, 3 of which may get tossed. 7 have been/are scheduled to be published (the final 3 coming out this month, yikes). A few of the pieces are multi-part, so with each part sitting on its own page, I probably have about 50 pages. I know that's damn brief, but I think it's the right length for something like this. Plus I'm all WWSJD? I want people to read it like they might have read Weird Tales comics once upon a time.

Now what? I don't know. But it's a good thing I'm wrapping it up because beginning in April I should start reading submissions for my new gig as Fiction Editor at Prick of the Spindle. I'm stupid-happy-excited to join the PotS staff, and to work for Cynthia Reeser who strikes me as a very sharp, particularly forward thinking artist.

Also want to remind everyone out there that Next Saturday is DZANC DAY, and along with Reb Livingston and the lads from Barrelhouse, I'll be helping conduct workshops as part of DC's "Dzanc National Workshop Day," a fundraising event to support the DZANC's "charitable programs which, in part, bring creative writing programs to students who could not otherwise afford the opportunity." Should be a hoot. I'm doing the flash workshop.